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Elements and Performance Criteria

  1. Clarify scope of restoration project
  2. Prepare source material for digital transfer
  3. Make digital recording of source material
  4. Apply restoration techniques to audio tracks
  5. Make a copy of restored audio tracks

Required Skills

This section describes the skills and knowledge required for this unit

Required skills

communication teamwork and literacy skills sufficient to

interpret and clarify written and verbal instructions

complete workplace documentation

read and interpret technical manuals

respond positively to constructive feedback on own performance

criticallistening and auraldiscrimination skills in the context of restoring audio tracks

technical skills sufficient to

use specialised equipment to perform audio restoration work

operate other studio equipment for playback and recording

planning and selfmanagement skills sufficient to

prioritise work tasks

meet deadlines

seek expert assistance when problems arise

problemsolving skills sufficient to identify typical faults that may occur in audioproduction environments

Required knowledge

acoustic principles related to noise and distortion on audio tracks

aesthetics of sound production

operation of current and obsolete audiovisual equipment

appropriate handling and storage of fragile and archival material

preservation methods for preparation of source materials

restoration principles tools and technique to apply to different artefacts

techniques and principles for removing or masking audio artefacts including

features and operating characteristics of restoration tools

compatibility with mono stereo or multichannel systems

use of timecode equipment

format encoders and decoders

principles of media archiving

issues and challenges that arise in the context of working with soundtracks

OHS principles of safe listening including safeguards against hearing loss

Evidence Required

The Evidence Guide provides advice on assessment and must be read in conjunction with the performance criteria required skills and knowledge range statement and the Assessment Guidelines for the Training Package

Overview of assessment

Critical aspects for assessment and evidence required to demonstrate competency in this unit

Evidence of the ability to

distinguish between the original sound and unwanted artefacts

use appropriate equipment to restore soundtracks to as close to the original recording within guidelines and available resources

apply correct postproduction processes prescribed for the designated outcome when making a copy of the restored soundtrack

meet production deadlines

Context of and specific resources for assessment

Assessment must ensure

access to a range of current and obsolete industry equipment

use of culturally appropriate processes and techniques appropriate to the language and literacy capacity of learners and the work being performed

Method of assessment

The following assessment methods are appropriate for this unit

case studies and written or oral questioning to assess candidates understanding of white noise and the process of denoising soundtracks

recordings of original soundtracks and authenticated denoised versions done by the candidate

Guidance information for assessment

Holistic assessment with other units relevant to the industry sector workplace and job role is recommended for example

CUFINDA Work effectively in the screen and media industries

CUFIND301A Work effectively in the screen and media industries

CUFSOUA Prepare audio assets

CUFSOU301A Prepare audio assets

CUSSOUA Analyse soundtracks

CUSSOU305A Analyse soundtracks.


Range Statement

The range statement relates to the unit of competency as a whole. It allows for different work environments and situations that may affect performance. Bold italicised wording, if used in the performance criteria, is detailed below. Essential operating conditions that may be present with training and assessment (depending on the work situation, needs of the candidate, accessibility of the item, and local industry and regional contexts) may also be included.

Relevant personnel may include:

client

production designer

post-production manager

production manager

preservation supervisor

supervisor

head of department

director of photography

artist

director

producer

technical director

other technical staff

other specialist staff

designer

animation production personnel

sound recordist

sound editor

sound-editing personnel.

Requirements may include:

artistic

technical, e.g. final format for master

budget

production schedules

organisational policies and procedures

resources

OHS requirements

audience

confidentiality

content

contractual arrangements

copyright

duration

intellectual property

purpose

style.

Documentation may include:

pre-mix scripts

mixing sheets

track sheets

de-noising documents

cue sheets

edit decision lists (EDL)

dubbing sheets

queries

notes

manuals

databases

fault reports.

Source materials may include:

film and television soundtracks, including:

music

dialogue

sound effects

oral histories

location recordings

optical soundtracks

analogue audio recordings in different formats, such as:

tape, e.g. open reel and cassette

wire recording

cylinder

vinyl disc

lacquer disc

film mag

digital recordings in different formats, such as:

digital audiotape

CD.

Repairing and cleaning source material may involve:

replacing dry or sticky film splices

attaching leader to film

removing adhesive left behind by sticky splices

repairing broken or damaged perforations on film

sonic cleaning film

manually cleaning film

baking magnetic oxide tape

using hot-pen on audiotape

scraping to remove oxide or other matter from oxide tape

manually cleaning oxide tape

removing mould by vacuum or alcohol swab

re-housing tapes if cassette damaged

cleaning discs

cleaning vinyl discs

cleaning and repairing cylinders

affixing lacquer fragments that are loose or separated from backing disc to lacquer discs

correcting warp in vinyl discs

detangling wire recordings

joining broken wire recordings.

Artefacts may include:

white noise

hiss

clicks

pops

crackle

sibilance

hum.

Recording from more than one source may be required if:

sections are missing from the original version

sections are heavily damaged

corresponding sections are available from another source and can be edited during the restoration process.

Equipment and tools may include:

noise reduction systems

mono, stereo or multi-channel systems

timecode equipment

format encoders and decoders

audio editing systems

sound mixing desks

multi-track equipment

software packages

hard drives

analogue and digital playback equipment

restoration tools.

Manual restoration techniques may include:

editing out artefacts

editing in missing sections from another source

waveform restoration.

Automated restoration processes may include:

high and low pass filters

de-noise

de-click

de-scratch

de-crackle

de-hiss

repair filter

pitch correction

noise reduction.

Appropriate processes may include:

expander

limiter

compressor

compander

playback curve.

Formats may include:

digital file:

AIF (AIFF)

WAV

broadcast WAV format (BWF)

WMA

OGG

advanced audio coding (AAC)

Real Audio

QuickTime

MP3

digital storage:

CD

DVD

USB

hard drive

linear tape-open (LTO)

analogue:

film.